浮世風(fēng)情繪/足本玉蒲團(tuán)
故事描述四百年前一個(gè)風(fēng)流才子，命犯桃花，一夕得一荒唐綺夢(mèng)，初則征歌逐色，繼而沉淪欲海，終至慘遭滅頂，于是一驚而醒，上山問道于高僧，但與高僧激辯后，才子仍深信;人生朝露，及時(shí)行樂的哲學(xué)，于是展開其縱橫欲海之;性路歷程。才子首先娶得美人歸，旦旦而伐，夜夜笙歌，知丈人看不過眼，乃以上京赴考為名，卻是到處獵艷為實(shí)，于是拋棄妻，云游四海。首先在一庸堂釣得一上香美女，幾番波折，終詣魚水之歡。艷婦之夫盛怒之下以牙還牙，將該才子之妻多番y-辱報(bào)復(fù)，繼而將之賣落青樓，為萬人薦枕。及后才子在青樓召妓，巧遇其妻，其妻無顏相見，自縊而死。才子撫尸痛哭，悔之已晚，方知萬惡y-為首，輪回報(bào)應(yīng)，半點(diǎn)無差，至此大澈大悟，遁入空門，了此殘生。本片只是平鋪直敘了一個(gè);y-妻子女者被人y-的故事，且在色情之余，著力刻畫了未央生與玉香這兩個(gè)角色。未央生y-了別人的妻子，但是卻害怕自己也落入別人的下場(chǎng)，這一點(diǎn)，從片頭那段魔幻主義的歌舞就可以看得出來。同時(shí)這也深刻體現(xiàn)了中國(guó)傳統(tǒng)道德觀里男尊女卑的觀念。而玉香這個(gè)角色更加立體，從最開始的羞怯到之后的**，再到獨(dú)守空閨時(shí)的寂寞難忍，栩栩如生。這兩個(gè)人物再加上苦心報(bào)仇的權(quán)老實(shí)，以及權(quán)老實(shí)之妻和白云香，賽昆侖這一系列角色的深入刻畫，完整地勾勒出一幅古中國(guó)社會(huì)的形象來。何藩之所以被稱為唯美主義晴欲大師，與他獨(dú)特的用鏡和舞美設(shè)計(jì)是分不開的。在80年代，電影技術(shù)還不算發(fā)達(dá)的情況之下，他就已經(jīng)開始嘗試使用簡(jiǎn)單的特效，營(yíng)造出分裂的鏡頭感，用來描摹夢(mèng)境的虛幻以表達(dá)劇中人物的心態(tài)。同時(shí)在構(gòu)圖上，他打破一貫的成規(guī)，鏡頭出現(xiàn)在任何可能出現(xiàn)的角落之中，比如從銅鏡中反照，透過窗欞窺視等等與眾不同的攝影角度與手法，充分地調(diào)動(dòng)觀眾的好奇心理，也深得中國(guó)文化中欲語還羞，猶抱琵琶半遮面的審美精神。另一方面，他又大膽借鑒西方美學(xué)中的造型感與色調(diào)，濃墨重彩，華麗無比，尤其以片中一段未央生與云娘在五彩絲線包裹中的鏡頭為最。最后，片中所選擇的男女主角雖然已經(jīng)因?yàn)槟甏眠h(yuǎn)，無從查考，但卻個(gè)個(gè)都有一種古典氣質(zhì)。尤其是女演員，給人的感覺就正好象片中所表現(xiàn)的一般，穿上衣服就是窈窕淑女，脫下衣服來就熱情似火.
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